newfoundmass

GH5 has a 1.4x mode as extele option, giving S16 sensor gate in 4k. It also offers a 2x Digi zoom giving a 2.5K wide image with the image circle of 2/3 inch broadcast. This is some nifty flexibility.
S1 offers S35 gate in 4K as we know, but also 3.1x crop in HD, giving us the gate size of approx 16mm film. I adapted an Angie 75mm c-mount lens in S35 mode. For S16 lenses it' 3.1x crop in Hd only. It's a start but would be nice to have much more flexibility with that beautiful sensor. I have a 35mm c-mount lens which covers S35 perfectly. I need to give it more exposure for sure! Also minimizes the rolling shutter to 15ms.

I'm always curious about 16mm lenses as I'm always looking for new ways to use my grandfather's Bell & Howell set of lenses: 4", 1" and .7" trio, pictured here next to my GH6. I would like to get them cleaned and re-lubed, but I'm not sure about how to go about that.

So I just completed a trade with MPB and I actually am quite satisfied. What really impressed me is that they actually paid me MORE than the original quote, because they judged that my equipment was in better shape than I did! So in addition to getting a S5 I actually ended up getting about $200 more!
I made a bit less than if I would've sold it on eBay or myself, but it was so easy and convenient that it was worth it to me. Just thought I'd share.

So I just completed a trade with MPB and I actually am quite satisfied. What really impressed me is that they actually paid me MORE than the original quote, because they judged that my equipment was in better shape than I did! So in addition to getting a S5 I actually ended up getting about $200 more!
I made a bit less than if I would've sold it on eBay or myself, but it was so easy and convenient that it was worth it to me. Just thought I'd share.

Agreed. I got lost in the details on my first set as DoP. The director set me straight really quick and things were better for it. 

Maybe it's just me and my background as a doc guy, but you're being incredibly particular there as the two shots are pretty similar.  Your shadows are only slightly more defined from one to the next.
If you're looking to be a wildly accomplished and precise gaffer and you are OCD by nature, I suppose you could be this discriminating, but even then?  Debatable.  In fact, it might be a liability on set, depending on the production you're doing. 
Personally, if I had crew fretting about lighting issues and THIS was the thing they were worried about, I'd be, like, yeah, I'm not going to be able to work with anyone that precious ... I don't know ... ain't too many narratives I've ever done wherein I'd be upset about this technical result if t was the look I wanted.
I'd be much more worried about the storytelling, the acting.  Heck, even the craft services table (seriously, gotta keep the crew happy) than this lighting difference.

I wouldn’t say they ruin the quality of the  light but they do indeed change the characteristics a bit. Consider this - when you’re looking into the source from a slight angle there will be less surface area visible witch leads to a “harder” feel of the light hitting your subject. Not always bad though, and I don’t see any hotspots (except what to expect from an harder light) only slightly more defined shadow areas. This is where makeup can help a lot of you want a look that’s a bit more punchy but stay out of trouble with shiny areas.
 
So - consider it’s a tool to both reduce spill in a quick and easy way with the slight change in characteristics and then use the knowledge to create the moods you’re aiming for. And like PPNS says - if you want to keep the softness use good old cutters and flags. Happy new year!

Good. Back to "Panasonic and what they have up their sleeve." ... not M43 vs. FF. Thank you!

Ok. Can you cover 16mm-ish to 600mm (FF equiv.) in under 1kg with ANY single FF mount kit? How about 2kg? 3kg? That's what I'm saying. There are lenses in M43 with simply with no equivalency in FF in terms of weight. When you do find a lens, you won't find the other lens you need in the same mount.

A lot of us don't like Sony cameras, and there are no comparably small full frame versions of the 12-35 and 35-100. For the 12-30 it's 305 g vs. 835 g for full frame equivalent. The 35-100 is 357 g vs. 1480 g for the full frame equivalent. Once you get into telephoto primes you're dealing with a significant size difference again compared to their M43 counterparts.
It's always weird when people insist there's no size advantage when I'm both a M43 and full frame shooter. There is such a huge difference, not in the bodies, but the lenses. 

A lot of us don't like Sony cameras, and there are no comparably small full frame versions of the 12-35 and 35-100. For the 12-30 it's 305 g vs. 835 g for full frame equivalent. The 35-100 is 357 g vs. 1480 g for the full frame equivalent. Once you get into telephoto primes you're dealing with a significant size difference again compared to their M43 counterparts.
It's always weird when people insist there's no size advantage when I'm both a M43 and full frame shooter. There is such a huge difference, not in the bodies, but the lenses. 

You're comparing lenses that don't exist to ones that do. A f2.8 is a f2.8 regardless of whether the lens is M43, APS-C or Full Frame. You can add all the qualifiers you want, it doesn't change the fact that the full frame equivalent to most M43 lenses are substantially heavier AND more expensive. Let me know when you find a 24-70 with a constant f2.8 that is even remotely close to the 12-35 f2.8 in weight. Ditto the 35-100, or the 100-300mm f/4-5.6. 
It's easy to get shallow DOF with M43 except when shooting ultrawide unless the lens has a close focusing distance. It is insane that people discredit an entire system in part because it isn't easy to get enough toneh.

I haven't given up hope on M43, and I still believe in the promise of it, but Panasonic needs to push the boundaries of size/specs. To me a camera the size of the GX85 with the abilities and performance of an upgraded GH5 II would be very tempting. 
The performance gap has narrowed between M43 and full frame, with IBIS being the main advantage at this point. But the added weight of lenses that I've had to deal with, I can't say that I enjoy that one bit. It's why I kept a GH5 and some lenses for my 3 camera kit. I didn't truly appreciate how tiny the 12-35 and 35-100 were until handling L-mount lenses, let alone the tiny lightweight primes! 
The ball really is in Panasonic's (and OMD, I suppose) court. If they offer a compelling option I think it can be successful, but I think it requires a compete re-evaluation of what they think M43 can be. 

@John Matthews GH5II in GX80 size please, with it´s absence of digital oversharpening, 10bit 4k60, S16 mode and all the other goodies. Thank you! 🙂

I think the FX30 does pretty well in low light. But I think you'd be fine with the A7IV. 
I'm biased towards the S5 though. 🙂

Yeah, at this point in camera development I think resolution is less an issue you'll have and really just shooting at an appropriate shutter speed and hitting focus is what you'll need to worry about.
Especially for social media use. The examples above aren't amazing by any stretch, especially given the lighting, but the performers will often geek out over the shots and use them on their social media accounts too. No one seems to notice, or really care, that they are stills taken from a video file. Most people at our level in pro-wrestling are using pictures taken on phones, and I'd argue our stills from videos look better than most pictures taken on a phone because they still have the characteristics of a larger sensor image.

I would say, if you're not a pixel peeper, then absolutely. Motion though might be a problem, depending on your shutter speed. Here are some stills I took from a pro-wrestling event I filmed on the 3rd that I used for promotional purposes on social media. These are from 8-bit 4K 30p video files using a 180 degree shutter angle shot on the S5 with zero editing outside of the watermark. We don't have a professional photographer taking photos (a lot of pro-wrestling events of this size don't since it's not in the budget) so we use stills like this instead. Obviously they aren't perfect, but for social media they are more than adequate, and depending on the shot a 4x6 print would be fine. Static subjects will of course work even better!
It should also be noted that 4K & 6K photo modes on Panasonic cameras are essentially just video files that allow you to pick a frame.

 

Yeah, at this point in camera development I think resolution is less an issue you'll have and really just shooting at an appropriate shutter speed and hitting focus is what you'll need to worry about.
Especially for social media use. The examples above aren't amazing by any stretch, especially given the lighting, but the performers will often geek out over the shots and use them on their social media accounts too. No one seems to notice, or really care, that they are stills taken from a video file. Most people at our level in pro-wrestling are using pictures taken on phones, and I'd argue our stills from videos look better than most pictures taken on a phone because they still have the characteristics of a larger sensor image.

What kind of video are you doing? Will you be filming long takes? Do you live in a warmer climate? The A7IV does have some overheating issues. However, if you aren't shooting long takes (say longer than 30-45 minutes at a time) or aren't in a hot climate, you'll probably be fine.
The FX30 eliminates overheating issues like that, which is why you'd want to go that direction if you're primarily a video shooter. It's a video ("cinema" 😏) camera, so it's meant to be a reliable video camera.

AF/MF...either way, if it ain't in focus video-wise, it won't be in focus as a still.
From experience, ie, I have deliberately shot video (4k 50p APSC crop S5 flat profile) with a view to also pulling the stills of the same footage and the results were mostly 'good' on average.
Some instances, they were great.
Tried the 6k 25p mode and the quality was mostly higher still and I think if someone was more 'results focused' than 'craft focused', with something like a Z9, the results would be superb.
And by 'craft focused', I mean that I am not sure whether I would be happy no longer being a photographer...
Can it be done? Yes and I'm surprised more are not doing it.
Should it be done? Personal choice more than anything.

There are so many variables with lenses it’s hard to say and I have found at times some lenses have been better or worse than others for no seemingly explicable reason.
My own Panny f4 24-105 for instance has been reliable on some jobs and then every now and again, is not. All day long, ie not just in some particular lighting scenario.
The Sigma 85mm f1.4 is more reliable for stills but less so video compared with the Panasonic 85mm f1.8 which is the opposite.
I don’t worry about it. The quality and reliability is more than good enough for me.

I would say, if you're not a pixel peeper, then absolutely. Motion though might be a problem, depending on your shutter speed. Here are some stills I took from a pro-wrestling event I filmed on the 3rd that I used for promotional purposes on social media. These are from 8-bit 4K 30p video files using a 180 degree shutter angle shot on the S5 with zero editing outside of the watermark. We don't have a professional photographer taking photos (a lot of pro-wrestling events of this size don't since it's not in the budget) so we use stills like this instead. Obviously they aren't perfect, but for social media they are more than adequate, and depending on the shot a 4x6 print would be fine. Static subjects will of course work even better!
It should also be noted that 4K & 6K photo modes on Panasonic cameras are essentially just video files that allow you to pick a frame.

 

The most challenging part is just getting used to manual focusing. It can be intimidating at first, but it's really not that difficult. It's pretty easy with focus peaking and with cameras that allow you to set the focus to linear so that you can repeat focusing consistently (a very underrated feature of the S5 after years of using the GH5.) 
Manual focusing is such a rewarding experience, at least it is for me. I like that feeling of control. 

I think a lot of folks would go with the FX30 over the A7IV because it's more video focused and won't overheat. It's a very compelling option if you're not obsessed with full frame. 

I am biased as an L Mount user, but S5 for me also.
As a former XT3 user, I was going to go XT4 for 2020...until Covid changed my plans and trashed my year so my pre-orders were cancelled.
At the end of that year, I went S5 over the XT4 or Z6.
Why?
Combination of factors but the components that were a priority to me added up to S5 over anything else.
Not exactly 'dirt' cheap right now, but can be had below 1000 'Your Currency' used and only going to get cheaper still now that the S5ii is arriving in Feb 2023. 
I looked at the XH2s recently and considered the Z6ii and the Canon R6ii and out of these it would be a tough call but having seen the spec of the new S5ii, for me that would be my choice. For a new/latest piece of kit, otherwise used, an S5.
As things stand, pretty sure I'm going to be trading my S5 and S1H for a pair of S5ii-x's in the new year because it makes sense for my needs. Maybe even my S1R's also for another, but ideally going to wait and see whether a replacement for the S1R is going to appear because for my stills needs, they tick all the boxes and it's just the video side of the hybrid equation where they don't. Fabulous 5k footage, but not 50p without going to 8 bit 4k.